Arlen, Porter, Van Hensen... A love song can overnight become a thread in the fabric of the world forever, as have those TED HOWE has chosen from the songbooks of Harold Arlen, Cole Porter and James Van Heusen -- three composers whose work changed the world of music -- along with Arlen's lyricists, Johnny Mercer and Ted Koehler and Van Heusen's lyricists, Johnny Burke and Sammy Cahn. Of course, the meticulous Cole Porter wrote both music and lyrics as one.
Harold Arlen is possibly the most underrated and most "unknown name" to the general public of any of the giants of twentieth century popular music. Perhaps, it was because his real desire was to be a singer. However, his destiny was to become one of the greatest songwriters of the century, and was recognized as that by his peers. Arlen's career spanned decades. Howe brings you Let's Fall in Love, written for the screenplay of the same title. The tune usually is performed with a perkiness, popular in its time.
However, Howe's arrangement, with his tender and spellbinding performance, possibly speaks for Arlen in a way for which he could not find words, even to ask his young love out. For, the shy, middle aged Arlen wrote this song while he was falling in love for the very first and last time -- with his future wife. Afterward came many hits for Arlen, teamed with Koehler at the Cotton Club in New York. But eventually he returned to Hollywood where Warner Brothers teamed him up with the great lyricist, Johnny Mercer.
Legend has it, Johnny Mercer was at Arlen's home, with Arlen at the piano absent windedly tinkling. As Mercer and his muse heard the music wafting through the house, he came running in singing, "I'm gonna love you like nobody loved you , then he paused. Amusing himself, Arlen said, "come hell or high water." "That's it," said Mercer, as if he'd just heard it on the radio: "come rain or come shine."
Howe's arrangement of this hauntingly classic standard is presented in a contemporary style, with candles burning at both ends. In fact, maybe Arlen was right, in Howe's imaginative arrangement, love IS come hell or high water. Especially as Giacomo Gates joins the trio in a splendid impromptu ending all his own.
The second giant Howe chose to pay tribute on this album is the incomparable Cole Porter, who heard both the words and the music to his compositions. Porter became a legendary symbol of the good life during times which were difficult for the masses -making his music and elegant lifestyle all the more popular. For when you hear a Porter song, you are transported to whatever exotic destination or event it entails -- and the wicked wit of a Porter lyric can make a sailor blush and a Rhodes Scholar ponder.
Let's Do It, one of Porters most popular tunes, known for its syncopated rhythms and wickedly clever lyrics has it all. Whether it was crafted or a gift from the heavens, the song has gracefully withstood the test of time. Originally written for the show, Red, White and Blue, it has never lost its' appeal. Ted Howe has been known to also do wickedly inventive arrangements. This classic becomes straight ahead swing, rolling back the carpets and taking off -- this time with Howe, himself, joining Giacomo Gates in a bedeveled ending.
Ted's second selection from the Porter archive is one of the later tunes, True Love, its performance usually catering to the straight forward love lyric. True Love, from the film, High Society, was sung by Grace Kelly (in her only singing film role) with Bing Crosby, and was as tender and sweet as honeysuckle on the vine. However, with Howe's arrangement, this simple love song is turned inside out by Ted and his trio, for, in Howe's hands True Love is a fireworks of Latin/Funk, masterfully arranged and played -- and impossible to forget.
The third great composer of the twentieth century which Howe chose to honor here is James Van Heusen. During his long career, he won four Oscars and an Emmy. Van Heusen teamed with lyricist, James Burke in 1933. Together they wrote the scores for six of the seven "Road Shows", a series of films starring Bing Crosby and Bob Hope. Of these, Howe has chosen Moonlight Becomes You, from The Road to Morocco. Again not in its original crooner format, rather as a finger snapping, swing tune -taking your breath away, rather than taking you to Morocco of old.
The team of Van Heusen and Burke went on to write twenty-three songs for Crosby films. Due to Burke's poor health, Van Heusen later teamed with another brilliant lyricist, Sammy Cahn. Together they would go on to write more songs for Frank Sinatra than any other team, winning the Oscar for what could be considered Sinatra's most noted love song, All the Way.
In preparing this CD, Howe decided it artistically fitting and emotionally appropriate that Jim DeJulio, Frank Sinatra's bass player and longtime friend of both Sinatra and Van Heusen, be featured in this moving arrangement of All the Way. DeJulio pays homage to his old friend in the tenderness of his sincerely crafted interpretation. The arrangement by Howe is significant and not likely to be forgotten. Ted sneaked into the end of the arrangement tidbits from other Van Heusen/ Sinatra hits for Jim to end his tribute. Just for fun, see how many you can find. You may be surprised. After all, the best is yet to come.
When Ted played Love Song I heard no words at first, but within the complexity of the music, I began to hear the simplicity of the lyrics... about how in some mysterious and wonderful way a simple love song can help define our lives and travel with us on all our journeys. Ted's ballad, Midnight on the Beach, is an homage to classic jazz ballads of the golden age. I wanted to reflect today's fast paced, commuter driven society: the two job family who are too tired for romance -- unless they are "making time for each other". Midnight on the Beach can be a literal beach or a state of mind you choose. For Ted's upbeat I'll Remember Your Smile, I heard a poignancy amidst his tropical, flowing Latin rhythm. And yet, a longing and sadness -- a memory of the senses -- that universal memory which love gives us: sights, sounds and smells which remind us of a love slipped away too soon.
Ted's pensive melody to If I Had Known, inspired me to write about mature reflection of a lost love -- and yet, there is a second chance. For, ours is the first generation of actual longevity that allows this miracle of love to actually be revisited. In addition to the great composers and lyricists of the golden age who have influenced me and the way these lyrics relate to Ted's music, I also thank the late, great saxophonist, Mr. Arnie Lawrence, a consummate teacher. Arnie taught me the confidence and persistance to find my bliss. We hope the listening will be yours. |
